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19 out of 20 people found the following comment useful :-
The Phantom With Opera!, 30 tammikuu 2001
Author: johnm_001 from USA

The splendor of Technicolor and the lavish opera sequences distinguish this version of the famous story. While this version bears little resemblance to the original, it does feature a first-rate performance by Claude Rains, in the title role. It certainly employs the best production values of any filmed version, and provides for high entertainment. Recommended.

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18 out of 20 people found the following comment useful :-
Horror may be muted...but the music is glorious..., 14 huhtikuu 2001
Author: Neil Doyle from U.S.A.

Before writing a film article on Claude Rains for CLASSIC IMAGES (December 2000), I took another look at 'Phantom' to appraise his performance. He's one of those rare actors who can make you feel sympathy when he plays the ill-treated violinist so that you understand why he turns into 'The Phantom'. His performance is just one asset of this handsome technicolor adaptation of the famous story. Why carp about the changes made for this version? It stands on its own as an entertaining melodrama studded with operatic sequences that give it added dimension. Nelson Eddy has never been in better voice and Susanna Foster is certainly up to the demands of her singing role. The comic aspects of the story are a bit overdone and the only weakness of the film is giving Eddy and Edgar Barrier silly routines as they compete for the hand of Foster. Aside from that, this can still be enjoyed as a horror story set against the Paris Opera background. The sets are rich and detailed. Understandably, the film won Academy Awards for color cinematography and color art direction. Edward Ward's haunting score was also nominated and contributes greatly to the overall enjoyment of the film. The horror is muted in this version--but the rich musical highlights are a compensation. Absorbing entertainment.

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9 out of 9 people found the following comment useful :-
The Mad Scourge of the Paris Opera, 13 elokuu 2006

Author: bkoganbing from Buffalo, New York

When Universal decided to remake Lon Chaney's classic silent version of the opera, sound opened up a rather obvious vista for the film. We can make it as much about opera as the phantom haunting the Paris Opera.

A task rendered considerably easier by the presence of Nelson Eddy and Susanne Foster. Unlike his screen partner at MGM, Jeanette MacDonald, Nelson Eddy came from the opera to the cinema. He always viewed himself as a singer first, films were something he did to get publicity for his concert tours. But Eddy always loved the grand opera, it could easily been his career path. Consequently The Phantom of the Opera and the arias he sings here always had a special place in his affections. We see a lot of the real Nelson here.

Another one of his interests was sculpture. The bust of Susanna Foster that Claude Rains stole from Eddy's dressing room is something that Nelson Eddy actually did. Sculpting was a hobby of his and as you can see he was quite good at it. Might have made a living doing that as well.

Susanna Foster who had a lovely soprano voice gave up her career soon after this most acclaimed of her films. A pity too, it was a real loss to the screen.

This Phantom of the Opera has a bit of comedy in it as well. Baritone Nelson Eddy and Inspector of the Surete Edgar Barrier have an uneasy rivalry going for the affections of Foster. The scenes involving this are nicely staged by director Arthur Lubin, more known for doing Abbott and Costello comedies.

This may have been Edgar Barrier's best film role. He was a more than competent player, his career probably suffering because he was a bit too much like Warren William who was himself a poor man's John Barrymore. Barrier played equally well as villains or as a good guy as he is here. Another fine role for him even though he only has one scene is in Cyrano de Bergerac where he plays the very sly and all knowing and discerning Cardinal Richelieu.

Of course Phantom of the Opera is really made by the performance of Claude Rains as the mild mannered, inoffensive Eric Claudin, a violinist in the Paris Opera who is crushing out big time on Susanna Foster. We see him first being told after 20 years he's being given the sack by the company. What they describe sounds an awful lot like Carpel Tunnel Syndrome that he's developed which is affecting his playing the violin. Bad news for Susanna Foster also because he's been her secret benefactor in paying for voice lessons.

There isn't any middle aged man who doesn't identify with Rains. Tossed out of his job, the rent due, crushing out big time on a young girl, a lot of us have been there. Then when he thinks an unscrupulous music publisher is stealing a concerto he's written, he loses it completely and kills him. And when acid is thrown in his face disfiguring him, it's a short journey to madness.

Rains really makes us feel for Claudin. In that sense the film is not a horror picture in that we're dealing with monsters or unworldly creatures that Universal so specialized in. The man who becomes the Phantom is all too real, too human, and if we're pushed right, could be any one of us.

Can you do better than opera arias by Nelson Eddy and a classic performance by Claude Rains? I think not.

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9 out of 10 people found the following comment useful :-
A film best appreciated by music lovers, if not by horror fans and purists…, 28 syyskuu 2006

Author: Peter Andres from Petersburg, Vasaria

First of all, let me state that I am a lover of classical music. I am not a fan of horror films. This particular version of the classic horror tale is very different in plot and in tone from its original literary source material—as well as the previous silent film version starring Lon Chaney in the title role. But nevertheless, the 1943 film succeeds beautifully as a romantic melodrama rather than as a horror film. For those who love classical music and performing arts, you're in luck with this one. Those looking for terror and chills, as well as a more faithful version of the literary work, look elsewhere.

Permit me to express my adoration for this film from the beginning. I was only three years old when I first saw this film, and I was still crazy about the Andrew Lloyd Webber stage musical I saw during that time (it was my first time seeing it, and since then I have seen it thrice on the professional stage, most recently two years ago at the age of 17). I immediately fell in love with this grand old Technicolor film the first time I saw it.

But I will be brief in presenting the following elements. The story here is vastly different from the original Gaston Leroux work, yet it works wonderfully well due to its originality and freshness. The Phantom is presented here as a tragic antihero rather than the melodramatic "living skeleton" Lon Chaney gave us in the 1925 silent version. We have splendid acting from all the performers in this film, most notably Claude Rains in the title role. We are given a sympathetic, tragic view of a lonely composer/violinist who fails to achieve his most admirable goal, despite Rains' limited performance time in the film. This particular role is what earned Rains the status of one of my all-time favorite actors since he impressed me at such an early age. However, it is Nelson Eddy and Susanna Foster who are the real stars of the film, expressing their rich and unique vocal talents within the film's glorious opera sequences, which are the among the film's many highlights. And the Oscar-winning production values and Technicolor cinematography are rich and opulent, fully expressing the wonders of a 19th Century Paris and its magnificent Opera House interiors. The humor between the rivaling Nelson Eddy and Edgar Barrier is pretty good, too.

And the music! Under composer Edward Ward's Oscar-nominated score and creativity the opera sequences are magnificently staged, yet here I will solely express my love for one thing: Edward Ward's "Lullaby of the Bells." "Lullaby of the Bells" is the Phantom's musical leitmotif throughout the film, and its effectiveness is expressed within the world of the film, arranged for violin, solo piano, piano and vocal (sung beautifully by Susanna Foster and Nelson Eddy), and, most impressively, for piano and orchestra. How wonderful to know that Rains himself learned how to play this lovely song on piano and on the violin, even though he never played a musical instrument before at the time! Unfortunately, like Rains' tragic misunderstanding with his admirable goal, the song is barely available on CD and sheet music for the song is almost nonexistent. The only CD that contains a modern symphonic rerecording of the song is "Piano in Hollywood: The Classic Movie Concertos." However, that particular recording is unimpressive and weak compared to the lush and dramatic power of the original as heard in the film's unforgettable finale, yet it does have its moments here and there on the CD. Nevertheless, since I am always impressed with the universality and effectiveness of the song, it remains my all-time favorite song unto this day.

I simply can't praise this film highly enough, so please watch it and judge it for yourself. But as I said before, this particular version will best appeal to those who love classical music and the performing arts, including great acting and drama. For those of you who expect a Gothic horror tale of a masked "living skeleton" who creates torture chambers within the Paris Opera House catacombs, an "Angel of Music" who hides behind a young soprano's dressing room mirror, and a Phantom who laughs melodramatically, then this film is not for you.

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8 out of 9 people found the following comment useful :-
The Opera Re-opens for a Delightful Movie, 4 tammikuu 2005

Author: movie_man2006 from Brazil

I rented Phantom Of The Opera (1943) hoping it was a horror movie. In a way, sure it is a horror picture, but it focuses much of it in drama/romance and even some comedy. I liked Claude Rains in Invisible Man (one of my favorite movies) and I like him as the Phantom as well. The other actors are kinda good (specially in the opera sequences). Many people consider the 1925 version the best one there is, but this one has its charm. The beginning is kinda slow and boring but once it approaches to the end (and the middle) it gets better- a lot better. If you wanna rent this movie because you want to see a good horror, probably you shouldn't rent it- but you will lose one of the best musical/drama classics of all times.

7.7/10

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8 out of 10 people found the following comment useful :-
A CLASSIC IN ITS OWN RIGHT (AND GORGEOUS, TOO!), 2 elokuu 2004
Author: Harold_Robbins from United States

It's perfectly true that this version isn't Lon Chaney and is watered-down Leroux, but it still has excellent performances and - this was during WW II remember - extraordinarily beautiful production values which resulted in Oscars for Color Cinematography and Art/Set Decoration. I've loved this film since I was a kid, even though back then I had to endure black-and-white telecasts because the local CBS affiliate was unable to obtain a color print that was up to their standards - years later I was lucky enough to see it - twice! in a theatre - as gorgeous as the color is on the DVD, it was even more breathtaking on the big screen. The extra features (the documentary "Phantom Unmasked", which includes a rare interview with the elusive Susannah Foster, and the audio commentary) have only increased my pleasure in watching this film over and over again.

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6 out of 7 people found the following comment useful :-
Quite a good version!, 22 helmikuu 2005

Author: Evan Chase from United States

This 1943 version is a remake of the 1925 version from the same studio (Universal). Probably the most vivid and effective use of Technicolor I have seen. Lush photography, great crane shots and an impressive Paris Opera House! The operatic scenes are very well done--and they are important to the story line. Very entertaining, especially since there is no graphic violence or gore--except the Phantom's face. Nelson Eddy is in top voice. One of Hollywood's most versatile actors, Claude Rains is remarkable in the lead role. Just the year before he was the memorable Prefect of Police in "Casablanca." This production is mounted first class in every way.

The DVD release is a fantastic transfer from an original old Technicolor master.

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4 out of 4 people found the following comment useful :-
Beautiful...One of the greatest stories ever told., 28 heinäkuu 2003

Author: Coventry from the Draconian Swamp of Unholy Souls

*** This comment may contain spoilers ***

It doesn't happen very often, but I was touched by this film. It's not the first adaptation of the story that I've seen, but it sure is one of the best. In fact, only the silent version starring Lon Chaney beat this version. That version is of course an absolute masterpiece, but I easily dare to say this is one too. It doesn't strictly follow the original storyline as you know it but that alright. You're just staring at it with your mouth wide open (at least, I was...) Claude Rains is just perfect in his role as the phantom. Because of his flawless performance, you feel what he feels and you have get the idea you would take the same actions as he does in this movie. Rains plays Eric Claudin. A rather anonymous violin player in the famous opera of Paris. In all the years he worked there, he grew a strong passion and love for the young and talented singer Christine Dubois. He even wrote a concert for her. But, he's getting older and he gets fired. His only hope now to keep seeing Christine, is to sell his concert and let her sing the main voice. When he gets the idea a production company stole his music, he snaps and attacks a man. During the struggle, Claude gets mutilated horrible by burning acid. From then on he lives in the opera building does everything to make Christine a star...even if that means other people have to die in a brutal way. I can't praise this film enough. It's just perfect in my opinion. The acting, the story, the shock-effects and above all ...the wonderful music. I must admit, if you're not a big fan of opera music, this film will certainly be annoying to you. But hey, you can expect classical music in a version of Phantom of the Opera right ? If you can appreciate a bit of opera singing, this film will have another great extra value to you. I say SEE IT. My humble opinion on Phantom of the opera = 10/10 . A must see !!!

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6 out of 8 people found the following comment useful :-
So sad ..., 7 helmikuu 2005

Author: Chad Sobodash (chad.sobodash@gmail.com) from United States

So many–time and time again–have typecast this movie as a "horror" film. It's not. This movie was meant to be a thriller, opera, comedy, and love story. To those who complained about this movie featuring too much singing; it's called the Phantom of the OPERA. Of course it's going to have OPERA in it, genius. If you don't enjoy singing, don't see this version, nor the most recent 2004/2005 version. Actually, I think the opera in the silent film is worse. I know you're saying "but it's silent!" Well, I have news for you; the movie features 5 minute–sometimes more–long scenes of people singing on stage ... but you can't hear them. ... why would I want to watch the 1925 version then? It stole 90 minutes of my life, and I want them back. Well, enough negativity. Susanna Foster delivers a power-packed performance, hitting a wondrous F above high C. This movie nominated Edward Ward for best scoring for a musical picture, and rightfully so. Lullaby of the Bells has been my favorite song for over 9 years of my life now, and I firmly believe this song is the greatest composition I have ever heard. I don't care much for Nelson Eddy, but his powerful baritone even won me over to the dark side of opera. I loved this movie, and I can almost guarantee you will too. Though, I must admit, I've been watching it since I was 4 and that's probably why I enjoy it so much; it's an acquired taste.

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3 out of 3 people found the following comment useful :-
Horror(?)In Color!!!!!!!!!!!, 20 syyskuu 2001

Author: Avram Jarek Fawcett from Mineral Wells, Texas

I'm not sure if I'd call this a horror movie(it's certainly a drama).It is the result of good acting,filming,and glorious color!!!!!!!I've never seen a Universal horror movie in color other than this!The story isn't a real adaption of Gaston Leroux's novel.It has several changes made that make it different from the book.It's a must-see for movie lovers.Horror or otherwise.

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